The ecoartspace blog features artist profiles and interviews, as well as writings on ecological systems. We are interested in presenting work that our members are making in collaboration with scientists, and poetics including spoken word, opera, and performative work. Painting, sculpture, ceramics, photography, drawing, and printmaking are all welcome media. Speculative architecture and public art are also encourage. Submissions for posts can be sent to info@ecoartspace.org. We look forward to hearing from you!

You can access the previous ecoartspace blog HERE (2008-2019)

ecoartspace, LLC

Mailing address: PO Box 5211 Santa Fe, New Mexico 87502
  • Tuesday, June 27, 2023 10:25 AM | Anonymous


    Moraine/Terminal outdoor classroom for “Over the Levee, Under the Plow,” a mobile seminar co-organized by Nicholas Brown, Ryan Griffis and Sarah Kanouse. Gathering space features banners by Dylan A.T. Miner (Metis) and a desk and library by Jon Lund, 2019.


    Notes on Art and Spatial Justice

    What does spatial justice look like, affirmatively - not just as the absence of injustice?

    by Sarah Kanouse

    This question has been ever-present for me in the past year as I’ve been on sabbatical, freed from the daily academic tasks of teaching and service to reflect on past work and plant new creative seeds. I’ve also facilitated a reading group on the concept of spatial justice for faculty across art, architecture, and law whose guiding principle has been this implicit question. It asks for a grounded definition of spatial justice, one rooted in practice as well as theory, in vision as well as critique. It asks for a utopian mode, one that academics are generally disinclined to indulge. Our reading group usually demurred from offering an affirmative vision of justice, preferring to sculpt in relief – chiseling out the injustice – rather than build with clay, shaping the moist, resistant stuff of the world into something between vision, affordance, and capability. I use these sculptural metaphors intentionally: a year’s worth of meetings on spatial justice has convinced me that art has a lot to offer in both envisioning and pursuing spatial justice. 

    The concept of spatial justice has intellectual roots in a particular academic tradition: Marxism as adopted since the 1960s by mostly British and American academic geographers trying to make sense of the radically “uneven development” (to borrow the title from Neil Smith’s influential book) evident in both the cities of the metropole and between the metropole and its (post-) colonies under conditions of “late” capitalism. A younger generation of Indigenous activist geographers have both used and critiqued this tradition to speak to the settler colonial dimensions of capitalist spatiality, but academic conversations around spatial justice remain boxed in by what anthropologist Elizabeth Povinelli calls “settler liberalism:” the seemingly transparent and rules-based system of settler sovereignty whose asymmetrically violent outcomes can only be critiqued and/or ameliorated, but never in ways that challenge that sovereignty. However, the foundational injustice of the Anglophone settler colonies stems from the unjust occupation and expropriation of land–an occupation underwritten by the presence of non-Native people, including those who may themselves be oppressed, exploited, or historically denied personhood to begin with. True spatial justice–including for those whose very presence sustains the system which exploits us–cannot be achieved without the restoration of governance by enduring Indigenous principles, with the leadership of Indigenous people. 

    Beyond such general statements, a decolonial vision of spatial justice is hard to articulate and even harder to achieve. Five hundred years of colonization cannot be simply rolled back like a soiled carpet to reveal an intact “Indigenous system of governance” ready for a quick sand-and-polish. Such a unified system never existed – and wanting to implement one “at scale” may be just another way of “seeing like a [settler]” state,” to channel James C. Scott. Moreover, settler colonialism and racial capitalism are world-making and subject-making enterprises: there is no outside, or above, or below. They have done such incalculable and intentional damage to the existence of other ways of feeling, sensing, thinking, and being that many of the concepts available to organize against them are entangled to some degree. But because they are encoded, however ambivalently, in who we understand ourselves to be, the tools by which subjectivity is sculpted and expressed–art, music, literature, ritual–are indispensable to both the articulation and pursuit of spatial justice.


    “Beyond Property” prompt cards and artists book by Sarah Kanouse for “Over the Levee, Under the Plow: an experiential curriculum, co-organized by Kanouse and Ryan Griffis, 2019-2021.

    Subjectivity in the Western liberal tradition is structured around the various forms of property that arose with the modern era and are entangled with the origins of capitalism. As a primary means of mediating social relations, property divides the world into subjects and objects: subjects who have rights and objects that (largely) do not. Historically, those classified as legal or potential property - enslaved African and Native people–formed the constitutive outside of the liberal subject and, indeed, of humanity itself. The liberal subject’s political rights were initially contingent on holding property in land; later, this proprietary requirement expanded to include “property in oneself” (e.g. not being indentured or enslaved or, for many centuries, female). Enforcing private property regimes on Indigenous territory served both as a mechanism of land seizure and means of assimilation, and adopting individual ownership models (or pretending to) was at various moments a precondition for the limited forms of political recognition extended by the liberal state. Yet even though chattel slavery and Native dispossession are rightly decried by today’s adherents to the liberal political tradition, political and subjectivity is still expressed and often experienced as what C.B. McPherson classically termed “possessive individualism.” The individual artist developing a signature style that both differentiates and unifies their work to appeal to collectors exemplifies the operations of proprietary individualism in the arts. However, the model is capacious enough to include artists (like myself) differentiated as much by the critical insights we offer as the objects we produce. Under settler liberalism, property–in its many and shifting forms–has become the relation that structures all other relations, the primary means of self- and community actualization, the dominant way of relating to self and world.

    Holding liberalism to its aspirational values has helped to move ever more entities from the ‘object’ to the ‘subject’ side of the ledger, and increasingly immaterial forms of “proprietary interest” allow newly acknowledged subjects to exercise agency, as the “rights of nature” movement is attempting to do. For an Indigenous tribe to successfully sue for the return of land lost through treaty abrogation, for a Black family dispossessed by urban renewal to receive compensation, for a court to recognize a river’s possessive interest in remaining unpolluted–these are stunning victories for spatial justice within the paradigm of the liberal settler state. And yet they also shore up property and proprietary liberalism as solutions to the problems they created, a colonial tautology that gets us ever further from the vision of the settler state’s eventual replacement with a system of governance based on enduring Indigenous principles, under the leadership of Indigenous people.

    Such a vision cannot be crafted only by artists, particularly artists as recognized within settler liberalism. But we are skilled in crafting aesthetic experiences where recognition and, alternatively, disidentification are possible. By making public our efforts to disentangle from proprietary subjectivity–particularly through relational accountability and active engagement with Indigenous leadership–we can contribute to a broader cultural shift. Moreover, my conversations with social-justice academics and movement-based activists over the last year have convinced me that art and artists have something to offer beyond the vague (if essential) work of “imagining otherwise” or “shifting the narrative.” By both training and orientation, we understand that tools shape both process and outcome: they make worlds while meeting goals. This insight is as true for the tools of law, activism, and policy as it is for more conventional creative tools. Thinking both reflexively and improvisationally about methods allows us to respond to the world that our actions are shaping, not just to the one we seek to replace. 

    Some of the most visionary and effective projects advancing decolonial visions of spatial justice have been developed as community-focused collaborations involving lawyers, activists, artists and culture bearers. Programs, like the Oakland, CA-based Shuumi, ask non-Indigenous people to pay a voluntary “tax” to Indigenous-led organizations as a means of recognizing Native sovereignty and building capacity for land rematriation. Although legible within the settler-colonial framework of property taxes, the contributions also reflect the payment of tribute as a form of sovereign recognition, as practiced by many tribes prior to colonization. At least a half-dozen similar programs have launched across the United States. New community land trusts are forming that return land to Indigenous control while also meeting the needs of diverse communities for food and housing. Recognizing that Indigenous stewardship is the most effective means of environmental protection, property owners are donating land to Native-led land trusts at ever-greater numbers; such transfers are an opportunity to write into the title deed language acknowledging the colonial dimensions of ownership while taking them off the speculative real estate market forever. Other individuals and nonprofits are creatively using the “easements” of settler property law to permanently safeguard Indigenous stewardship and access to culturally significant landscapes. In Washington, a new spirit easement campaign asks property owners to permanently codify a welcome to the spirits of Indigenous Methow ancestors with the Registrar of Deeds. While this particular easement appears largely symbolic, it reflects a broader collective effort to sustain other ways of living in and with the land, incommensurable with Western cosmology. These and other efforts may not “look like” art in the traditional sense (indeed, they might look more like a title search), but they get us involved in the messy, halting, uncertain work of aligning the systems that govern of our lives with a broader, decolonial vision of justice.

    “Ecologies of Acknowledgment” letterpress print with text by Nicholas Brown, Sarah Kanouse and Elizabeth Solomon (Massachusetts), printed at Huskiana Press by David Medina, 2019.

    Click images for more information


  • Monday, June 26, 2023 8:36 AM | Anonymous

    MEMBER SPOTLIGHT

    June 26, 2023

    This week we recognize Kellie Bornhoft  Kellie Bornhoft, and her multimedia work exploring climate change and its effects on the natural environment.

    From Here to There as Place (Readings from Alexander Wilson), 2015(above)is a single channel video recorded from the inside of a car driving on the Blue Ridge Parkway between Tennessee and North Carolina. This work layers footage taken from multiple passenger. Some of the clips are reversed and the duration is altered. During the drive the narrator reads sections from Alexander Wilson's book "The Culture of Nature" that reference the controversial construction of the road. 

     click images for more info

    Burnishings, 2018-ongoing (above) is a series of drawings made with forest fire burned bark as charcoal. The process involves visiting public lands scarred by fire and collecting small bits of charcoal. As Bornhoft travels to any public land thereafter, she identifies native species of trees and rubs the found charcoal across the paper placed up against the tree’s bark. The work is about reciprocity and touch in spaces otherwise driven by narratives of preservation and “leave no trace”. The work seeks intimacy and tangibility with the hopes of fertilizing and caring for native species in these spaces. Dust and bits of charcoal drop to the base of the tree as a sort of good-will offering. As the “public” stewarding these lands, she is curious about individual responsibility within one’s environment and rejecting estranged colonial ideologies.

    Shifting Landscapes: Static Bounds (above), published in 2019, is a field guide that brings into question what it means to preserve a landscape for “the enjoyment of future generations,” when climactic forecasts predict that those generations will be fighting just to survive on this melting planet. The two notions cannot coincide in one narrative. Public lands drew Bornhoft in because of the myths imposed on them: myths of preserving an inhuman wilderness, myths of innocence in the histories of their conquering, and myths of their stability amidst a warming planet. The book accumulates field notes, images, and a de-territorialized mapping system to locate the reader within the traversed time and space.

    By a Thread, 2023 (above) is a celebration of the Endangered Species Act, the most effective environmental legislation for the past 50 years. Though few animals have been delisted, most species avoided extinction because of the legal protection. This collection of drawn plants and animals depicts every species ever federally listed as endangered under the ESA that resides or resided within a 30-mile radius of my studio on the unceded territory of the Muwekma Ohlone Tribe. Viewers are invited to gently sift through and touch the banners. The accompanying guide can assist in identifying species throughout the installation. The photographs referenced for the illustrations are sourced from the Creative Commons and often taken by citizen scientists. This guide credits the source image photographers with gratitude. The ESA has a history of embracing citizen science by allowing anyone to petition to list a species to the Fish and Wildlife Service. The illustrations were returned to the Creative Commons to increase accessibility and aid further study.

    Bornhoft's most recent installation titled Tremors, 2023 (below) presented six speakers buried beneath one ton of sand, which amplifies a live seismic activity. Using an open-source ObsPy code and a Max patcher, the work synthesizes local seismic data into a sound wave that spatially varies between the six speakers. Viewers are invited to traverse the mound to feel the low grumbling vibrations of magnified Earth movements. Small porcelain rocks are mixed into the locally sourced sand. Installed with the work is a two-channel video. As a chance-operation poem, words borrowed from geology texts loop on each monitor at differing speeds to create an endless cycle of combinations. The intention is to bridge one’s understanding of how their presence on this moving-shaking planet is in flux—that the ground we think is static shifts beneath our feet. 

    Kellie Bornhoft's (she/her) practice seeks tangible and poetic narratives needed in an ever-warming climate. Bornhoft utilizes sculpture, installation and video to delve into the whelms and quotidian experiences of our precarious times. Scientific data and news headlines do plenty to evince the state of our warming planet, but the abject realities of such facts are hard to possess. Through geological and more-than-human lenses, Bornhoft sifts through shallow dichotomies (such as natural/unnatural, here/there, or animate/inanimate.) Bornhoft is currently working in the Bay Area of California. She holds a MFA in Sculpture + Expanded Media from Ohio State University and a BFA from Watkins College of Art and Design. Bornhoft’s work has been exhibited internationally in museums, galleries and film festivals such as the Contemporary Art Museum in Raleigh, North Carolina, Kulturanker in Magdeburg, Germany, and the Athens International Film and Video Festival. Bornhoft’s work has been reviewed in many publications including Frieze Magazine, Burnaway, INDYweek and ArtsATL.     www.kelliebornhoft.com


    Featured images (top to bottom):©Kellie Bornhoft, From Here to There as Place (Readings from Alexander Wilson), 2015,single channel video, 4 min 31 sec; Burnishings, 2018-Ongoing, charcoal on paper, 200+ 11” x 14” drawings, dimensions variable (about 20’ x 9’ in the depicted installation); Boundless Sediments, 2020-2021, Two-Channel video, 11:53, plaster, TVs, speakers, wood, foam, and pigment; By a Thread, 2023, digital print on voile fabric, wood, 3D printed hardware; Tremors, 2023, speakers, amplifier, monitors, sand, porcelain, Python/ObsPy code, Max patcher, and cables; Portrait or Artist.

     


  • Monday, June 19, 2023 8:50 AM | Anonymous

    MEMBER SPOTLIGHT

    June 19, 2023

    This week we recognize   Anne Krinsky   Anne Krinsky based in London, whose art practice, after twenty-five years turned to investigations of natural and man-made environments in 2017, created from archival and geographical research.

    “Tide Line Thames,” 2016 (above) was a two-year project supported by Arts Council England, investigating the shifting riverscape and its architectural structures between high and low tide lines. The Thames in London, contained by high river walls, has a tidal range of up to seven metres. Krinsky exhibited the project's first phase of photographs, paintings, digital scrolls and projections at Thames-Side Studios Gallery, for Totally Thames.”

     click images for more info

    “Tropical Thames,” 2017 (above) was an installation of eight large-scale digital prints on Dibond Aluminium panels, and was inspired by Thames architectural structures in southeast London– docks, piers and river walls shaped by centuries of shipping and trade. "Tropical Thames" also responded to the Garden's dramatic roof structure, designed by Foster and Partners, and to its plantings, some of which were species that first entered Britain through Thames docks. Designing the installation involved some time travel, to London’s trading past and to its potential future. In making this work, Krinsky thought about the urgent issue of climate change and the effects of rising temperatures and sea levels on the tidal river.

    Krinsky created “The Ephemera Scrolls,” 2019 (above) in St. Augustine’s Tower in the London Borough of Hackney for the show Reading Stones. Artists were invited to make works in response to the history and architecture of Hackney’s oldest building, a 13th century clocktower. Through their respective interests in the land, the body and the cosmos, they explored relationships between time and materiality, on four floors of the Tower. Krinsky incorporated ten photographs she had taken of the River Naab in Bavaria in 2019, during the hottest June on record, part of her project documenting vulnerable wetlands and climate change.

    “Anne Krinsky: Wetlands/Shifting Shorelines,” 2021-2022 (above) was an outdoor print exhibition inspired by vulnerable South Coast wetlands she photographed in 2020 and 2021. It was on view for six months at The Seafront Gallery on Worthing’s Promenade. Krinsky worked with projection, photography and digital print to design this series of 16 prints, in a range of river and coastal locations including Lymington, Keyhaven and Chichester, Pagham and Portsmouth harbors. Krinsky stated "It’s heartbreaking to see the overgrowth of algae, from agricultural runoff and dumping of sewage, that is engulfing South Coast wetlands." Information panels about Bird Aware Solent, The Solent Oyster Restoration Project and The Sussex Kelp Restoration Project were presented.

    In November and December of 2022, Krinsky was a Visiting Artist-in-Residence at 18th Street Art Center in Santa Monica, where she undertook a period of research investigating the wetlands on the Los Angeles River Corridor and the Southern California Coast. A concrete channel built by the Army Corp of Engineers in 1938, confined the Los Angeles River for flood control, which chuted the water to the Pacific Ocean and wasting it for any ecological or agricultural purpose along the way. The river is flanked by highways, warehouses and railways and the anthrophonic sounds surrounding it are jarring. Krinksy made a series of video clips to document this urban interface with nature.

    Anne Krinsky  is a London-based artist, born in the United States. In her practice she combines painting, print, photography and projection with archival and geographical research, to investigate overlooked structures in natural and man-made environments. Krinsky is fascinated by the passage of time and the ephemeral nature of the physical world. She exhibited her first project with a UK archive, From Absorb to Zoom: An Alphabet of Actions in the Women’s Art Library, at Goldsmiths University of London in 2015. Since then, she has made mutliple installations in response to archived collections in the United States, United Kingdom and India. Anne Krinsky is the recipient of multiple grants, including an Artists International Development Fund Grant, Arts Council England Developing Your Creative Practice Grant, two Artist Bursaries from a-n The Artists Information Company and two Arts Council England Grants for the Arts. The British Museum, Boston Public Library, American collector Graham Gund and Paintings in Hospitals England, have purchased her works, as have numerous corporate and private collectors on both sides of the Atlantic. www.annekrinsky.com


    Featured images (top to bottom):©Anne Krinsky, Tide Line Thames 2016, River Walls, acrylic & collage on aluminum panels, 135 x 100 cm / 53 x 39 inches; Tropical Thames 2017, Sea Change / Seeing Double, Digital Prints on Dibond Aluminium. Tropical Thames in Crossrail Place Roof Garden, Canary Wharf, London; The Ephemera Scrolls 2019, St. Augustine’s Tower Hackney, London, 10 Archival Digital Prints on Platinum Etching Paper. Each scroll: 200 x 60 cm / 79 x 24 inches; Wetlands/ Shifting Shorelines 2021-2022, Worthing Seafront Gallery UK, Sea Kale 1, Digital Print on Dibond Aluminium Panel, 90 x 90 cm / 35.5 x 35.5 inches; Los Angeles Wetlands, video clips taken during Artist in Residence at 18th Street Art Center, Santa Monica, California, fall 2022; Artist Portrait.







  • Tuesday, June 13, 2023 8:29 AM | Anonymous


    Can Art Change Attitudes Toward Climate Change?

    A study found that people who viewed climate data in the form of an artwork were less likely to lean on their preconceived notions.

    Avatar photo Elaine Velie 17 hours ago via Hyperallergic

    A new study found that using art to convey environmental data eased political perceptions about climate change. As wildfires rage in Canada and New York City recovers from a week of smoke, the study’s findings could help scientists more effectively communicate their research at a pivotal point in the future of the planet.

    Nan Li, Isabel I. Villanueva, Thomas Jilk, and Dominique Brossard of the University of Wisconsinand Brianna Rae Van Matre of the nonprofit EcoAgriculture Partners conducted the research, published May 31 in the journal Communications Earth & Environment. Li conceptualized the project two years ago when she heard artist Diane Burko speak during a webinar; the artist, whose practice centers on climate change, was pondering the real-world impact of her work.

    Burko depicts the consequences of Earth’s warming atmosphere, such as melting glaciers and disappearing coral reefs, and often accompanies them with scientific maps and charts. Li and her colleague Dominique Brossard developed a study to answer Burko’s question — how does the artist’s work affect its viewers? The team chose Burko’s 2020 mixed-media work “SUMMER HEAT, I and II.” The graph at the lower left depicts the Keeling Curve, a visualization of the amount of carbon dioxide in the atmosphere since 1958. The blue represents melting glaciers, and the red figure is Europe, which suffered an intense heat wave in 2020 when Burko created the work.

    continue reading here

  • Monday, June 12, 2023 9:46 AM | Anonymous


    MEMBER SPOTLIGHT

    June 12, 2023

    This week we recognize  Aline Mare, and her early performance art, film, photography and current multimedia works exploring organic interpretations of nature and the human experience.

    In the early days of her art practice Mare did a series of performance art pieces, dealing with the psyche of the female body. In these works she used a variety of mediums such as multimedia film, video and slide performances and installations. These works were shown in New York City, San Francisco, and Europe. The image above is of one of these performances titled “I will be,” a solo performance at P space in San Francisco in 1991.

     click images for more info

    “S’aline’s Solution” 1991 is a video Mare made many years ago, when she was 40 years old, as a testament to the painful yet powerful right of women to choose. She wanted to find a voice for the pain, an acknowledgment of the courage involved in choosing to have an abortion- a voice she felt had been silenced in our culture. The saline procedure is induced at the end of the first trimester with a local anesthesia of 200 milligrams of hypertonic saline solution. It is a fairly traumatic birthing process which includes dilation, contractions and a chemically induced early labor. It is an especially difficult procedure, an experience which she understood first hand. The video was greeted with much controversy. Many women felt Mare had played into the hands of the Right, appropriating “Back to Life'' imagery and humanizing the embryo. However she believes the piece stands up on its own as an emblematic statement about an issue that remains central and vital in these dangerous times: a woman’s right to choose.

    “A series of large fragmented images of young boys (Beautiful Boys 2006-2007, above)  on the cusp of manhood, inspired by the fleeting beauty of my own son and his circle of friends in their thirteenth year. They are shot as they float on a bed of water, their spontaneity and vulnerability exposed in a moment of unconscious beauty.”

    “Requiem: Aching for Acker” 2018 (below) is a body of work that was directly inspired by Requiem, the last piece of writing by counterculture writer Kathy Acker, a friend of hers – on and off – for decades. It was published as the final part of an opera,Eurydice in the Underworld, by Arcadia Books in London in 1997. A risk-taker and literary outlaw, Acker was a hybrid of punk, postmodernism, feminism, and critical theory in her public identity as well as in her literary works. She died of breast cancer on November 30, 1997 at the age of 53, after a double mastectomy and turning her back on Western medicine. Mare was deeply moved to be a close friend to her in her final days. InRequiem: Aching for Acker, she was looking for a vision to match the feelings: the loss and the power she felt reading her last published book. Something that would remind the world of her power as a creative female force of nature – her self-mythologizing as a form of empowerment and vulnerability. To marry the past and the present in an evocative body of work that speaks to the universality of the path we must all take: the path to the underworld.”

    Most recently Mare has created different collections of artworks of which she calls "Psychic Landscapes." In these works she explores a variety of different themes, some of which connect to ideas seen in her earlier works considering the human body. She has also moved into exploring elements of the natural world in a series titled "Cacophony of Change: Extreme Conditions," that deals with storm water basins in the extreme climate conditions in Southern California after record-setting rainfall in the last year. One example is HA (at Hahamongna Watershed), 2023 (below), from her most recent series “Dangerous Landscapes” that synthesizes her own history with natural cycles of the earth.


    Aline Mare began her career in the Lower East Side of Manhattan, coming out of a background of theatre, experimental film, and installation art. She was an early member of Collaborative Projects, a collective formed in downtown New York City and performed in a multi-media partnership called Erotic Psyche. She completed undergraduate work at SUNY Buffalo’s Center for Media Studies and an MFA from San Francisco Art Institute, where she produced the film Saline’s Solution, a series of installations and performances that dealt with abortion from a feminist point of view, which garnered support and awards internationally, exhibiting at The Cinematheque in SF, The Whitney Museum and the Museum of Modern Art in NYC. She has received several grants and residencies including Fourwinds in Aureille, France, a 2015 Sino-American art tour in Shanghai, Starry Nights in New Mexico, Headlands Center for the Arts, Kala, Film Arts Foundation, New Langton Arts in SF and a New York State Residency for the Arts.  She continues to expand her work, concentrating on mixed media and installation, exploring the body and metaphors of nature and its transformative relationship to the human psyche and the state of our planet. New works have been exhibited locally and internationally. www.alinemare.com


    Featured images (top to bottom): ©Aline Mare, I will be, 1991, solo performance at P Space, San Francisco; S’aline’s Solution, 1991, 9 minutes VHS on DVD; from series Beautiful Boys 2006-2007, video and photo-based images; Requiem: Aching for Acker, 2018, bloody glove mixed media on archival board, presented at Beyond Baroque, Mike Kelly Gallery, Los Angeles, California; HA (at Hahamongna Watershed), 2023, mounted mixed media, with mica and bees wax, 24 x 36 inches; Portrait of artist by husband Gary Brewer.



  • Monday, June 05, 2023 7:58 AM | Anonymous

    MEMBER SPOTLIGHT

    June 5, 2023

    This week we recognize Amy Youngs  Amy Youngs, and her  expansive body of work at the interstices of technology and the natural world for over twenty years.

    Cricket Call (above) from 1998, was a technologically-enhanced nature experience attempts to facilitate communication between crickets and humans. The cricket participants live in a glass-walled, human-like environment which, when a human participant is present, includes a televised human on their own scale. For the human, there is a telephone interface which receives the amplified chirping sounds of the actual crickets and sends voice-activated electronic chirping sounds to the crickets.

     click images for more info

    "This living sculpture [Farm Fountain 2007-2013, above] is designed to inspire participation in lowering greenhouse gas emissions through personal, local food production. It is a functional chandelier, water fountain, garden and fish farm—all in one interconnected, constructed ecosystem. Based on the concept of aquaponics, this hanging garden fountain uses a pump, along with gravity to flow the nutrients from fish waste through the plant roots." "This project is an experiment in local, sustainable agriculture and recycling. It utilizes 2-liter plastic soda bottles as planters and continuously recycles the water in the system to create a symbiotic relationship between edible plants, fish and humans. The work creates an indoor healthy environment that also provides oxygen and light to the humans working and moving through the space. The sound of water trickling through the plant containers creates a peaceful, relaxing waterfall. The Koi and Tilapia fish that are part of this project also provide a focus for relaxed viewing.”

    Live Feedings, 2015-2017 (above) was a live feed webcam located in Young's office at the Ohio State University and broadcasted the activities of composting worms in action. The meals were made of waste foods that worms like—carrot pulp, asparagus ends, coffee grounds, banana peels—on a bedding of shredded newspaper and coco coir. The worm bin was illuminated with infrared light to protect the worms from visible light, which can harm them. Multiple LIVE Feedings occurred over four months, with the worm bin webcam live streaming 24/7.

    Becoming Biodiversity, 2019 (above) is an augmented reality application that encourages participants to explore and experience local, ecological networks present in an urban park site. Cell phones and headphones are used to experience this artwork, which includes mixed-reality animations and storytelling as an overlay to the actual park. The experience is an embodied one, designed to connect humans empathetically with the biodiversity, symbioses, and unseen worlds in public park spaces. Fantastic ecologies exist everywhere on earth and at many scales, many of which are invisible to us. Though we mostly ignore and disrespect the non-humans in these networks, our lives depend upon them. This artwork is a guided tour which will allow us to inhabit the worlds of multiple species along the network, allowing them to become visible and “sense-able” to us.”

    Grasping Permeability, Flushing Meadows Corona Park, 2019 (below) was a virtual reality installation that invited viewers to interact with images by grasping them with hand controllers. The images were a spatial simulation made from photographs the artist took at Flushing Meadows Corona Park in New York City. The experience was designed to alter the viewer’s sense of self in relation to the hollow virtual skins—the surface representations of place. A ring of phragmites plants provided a semi-permeable layer that could be touched by real and virtual hands.

    Amy Youngs  creates biological art, interactive sculptures and digital media works that explore interdependencies between technology, plants and animals. Her practice-based research involves entanglements with the non-human, constructing ecosystems, and seeing through the eyes of machines. She has created installations that amplify the sounds and movements of living worms, indoor ecosystems that grow edible plants, a multi-channel interactive video sculpture for a science museum, and community-based, participatory video, social media and public web cam projects. Youngs has exhibited her works nationally and internationally and she has contributed writing to interdisciplinary publications such as Leonardo and the recent book, Robots and Art. Her work has been profiled in books such as Art in Action, and Nature, Creativity & our Collective Future. Youngs received a BA in Art from San Francisco State University and attended the School of the Art Institute of Chicago on a fellowship where she earned an MFA in 1999. In 2001, she joined the faculty at the Ohio State University where she's currently working as an Associate Professor of Art, leading interdisciplinary grant projects and teaching courses in moving image, eco-art, and art/science. hypernatural.com


    Featured images (top to bottom): ©Amy M. Youngs, Cricket Call, 1998, live crickets, plant, custom electronics, amplifier, telephone, video camera, copper, glass, fabric and wood, exhibited 2003-4 in the exhibition Bug-Eyed: Art, Culture, Insects curated by Patricia Watts at Turtle Bay Exploration Park, Redding, California; Farm Fountain, 2007-2013, exhibited at Te Papa, Tongarewa, Wellington, New Zealand, The National Art Museum of China, Beijing, China, Banvard Gallery, Knowlton School of Architecture, Columbus, Ohio, and Kontejner, Bureau of Contemporary Art Practice, Zagreb, Croatia; Live Feeding, 2015-2017, network webcam, live composting worms, plastic bin, food waste, paper waste, infrared light, video; Becoming Biodiversity 2019, exhibited at the New York Electronic Arts Festival, June 1 - August 11, 2019; Grasping Permeability, Flushing Meadows Corona Park, 2019, installation with Phragmites (common reeds), virtual reality experience + wetland particulates on paper; Self portrait of artist.

  • Thursday, June 01, 2023 8:45 AM | Anonymous

    The ecoartspace June 2023 e-Newsletter for subscribers is here



  • Monday, May 29, 2023 7:21 AM | Anonymous

    MEMBER SPOTLIGHT

    May 29,2023

    This week we recognize  Tali Weinberg, Tali Weinberg and her art practice merging climate data with textiles.

    "While petrochemical pipelines run through the earth, petrochemical-derived medical tubes are pipelines that run through and around our bodies. As the detritus of our human life on land runs downstream and then circulates back through bodies, watersheds are one window into the interdependence of ecological and human health. In the “Drainage Studies,” 2021 (above) temperature data for each of the 18 major river basins in the continental US is materialized as hand-dyed, color-coded cotton and coiled along bundles of medical tubing that are entwined together."

     click images for more info

    "I translate climate data from the National Oceanic and Atmospheric Administration into abstracted landscapes and waterscapes, materializing the data with plant-derived fibers and dyes and petrochemical-derived medical tubing and fishing line. These woven datascapes and coiled sculptures merge a practice of record keeping with a practice of grieving, and merge an expression of scientific research with an expression of lived experience. This project started in 2015 as an investigation of the mechanisms through which we come to understand climate crises, from data and journalistic narrative to embodied and affective experience."

    Bodies on the Line, 2014 (above) draws text from conversations with women activists from the San Francisco Bay Area, Weinberg's home at the time. The quotes used were originally selected in response to an exhibition space in Patterson, New Jersey, a town built on the manufacturing of silk by a labor force of working-class women who put their bodies on the line at work, and in defense of better work. With silk thread on silk organza, the artist hand-stitched fragments of these conversation in order to intertwine the material and labor history of the place with the struggles of contemporary women. In 2016, Weinberg was invited to evolve the project for the Hangzhou Triennial of Fiber Art in Zhejiang Province, China—another city built on the production of silk.

    Water Bodies, 2019 (above) is a series of works that interpret annual average temperatures for oceans and lands, hemp-dyed with plant and insect-derived dyes, and petrochemical-derived fishing line. The strands of dyed hemp warp threads color-code 138 years of temperature for the earth’s surface. This materialization of rising temperatures is held together with petrochemical-derived fishing line to create woven patterns that mimic waves. While the fishing line’s reflective quality evokes the glimmering surface of a body of water, the combination of materials and data also suggests the link between climate crisis, extraction of petrochemicals, and the accumulation of toxic plastics in our bodies and ecosystems.

    Memories of Future Fires, 2022 (below) is a series that explores forest fires; smoke inhalation; microplastics in our ecosystems, blood, and lungs; and loss of homes past and future. These hand-woven pieces start with photographs which the artist took in a fire-decimated landscape in the Pacific Northwest. She then re-materializes the trees with petrochemical-derived monofilament. In woven form, the trees also reference hearts and lungs as she looks to the connections between life sustaining circulatory systems inside and outside the human body.

    Tali Weinberg  interweaves petrochemical and plant-derived materials, data, and landscape imagery to draw attention to the harms of ongoing petrochemical extraction, from rising temperatures and species loss to the buildup of toxic plastics in our bodies and ecosystems. Weinberg’s work is held in public and private collections and is exhibited internationally including at the Griffith Art Museum, 21C Museum, Berkeley Art Museum, University of Colorado Art Museum, Georgia Museum of Art, Center for Craft, and Form & Concept gallery. She has been featured in the New York Times, onEarth Magazine, Surface Design Journal, Fiber Art Now, and Ecotone. Honors include an Illinois Artist Fellowship, a Tulsa Artist Fellowship, Serenbe Fellowship, Windgate Fellowship to Vermont Studio Center, Lia Cook Jacquard Residency, SciArt Bridge Residency for cross-disciplinary collaboration, and a virtual residency at New York’s Museum of Art and Design, among others. She has taught at California College of the Arts and Penland School of Craft. www.taliweinberg.com


    Featured images (top to bottom): ©Tali Weinberg, Drainage Study: Clot, 2021, temperature data for 18 major rivers in the continental US, petrochemical-derived medical tubing, organic cotton dyed with plant and insect derived dyes and mineral mordants, 8 x 15 inches; Gilded Valley, 2015, from the “Field Studies” series: Agricultural landscapes woven from California-grown organic cotton dyed with plant dyes and mineral mordants, 18 x 25 inches; Bodies on the Line, 2016, installation for Hangzhou Triennial Of Fiber Art, Zhejiang Art Museum, Hangzhou, China, 10 panels, each 42 in width x 80 in height; Water Bodies (Ocean), 2019, 138 years of annual average temperature for 71 percent of the Earth’s surface (ocean), hemp dyed with plant- and insect-derived dyes, petrochemical-derived fishing line, 35 x 50 inches (photo by Philip Maisel); Lungs, 2022, from Memories of Future Fires series, 86 x 112 inches (photo by Rebecca Heidenberg); Self-portrait of the artist.

  • Monday, May 22, 2023 6:39 AM | Anonymous

    MEMBER SPOTLIGHT

    May 22,2023

    This week we recognize  Barbara Boissevain Barbara Boissevain, and her work exploring the impacts of human activity on the environment.

    In a series of images titled “Ghost Hangar” (above) Boissevain explored how “As caretakers of our environment we are bound to the missteps of our predecessors. Hangar One is an iconic colossal structure that is also the largest Superfund site in Silicon Valley. Rife with controversy, it was recently found to be leaking toxic chemicals into the San Francisco Bay. These aerial shots depict the resulting biological die-off of the wetlands in close proximity to the hangar. The intent of this work is to cultivate awareness and provoke meaningful discourse about environmental stewardship.”    click images for more info

    “The trees will outlive us,” 2016 (above) explores  abandoned human structures as they decay and transform. Through the process of investigating these sites the artist looks for clues alluding to their pasts and imagined how they would be further altered by the passage of time. In post-production, she layers location specific elements highlighting the tension between the present beauty and the future evolution of these relinquished sites. This series began in 2016 when Boissevain began photographing a family farm located on Montauk Highway in Long Island, New York. The farm, homesteaded by her great-grandfather over a century ago, is no longer a working farm. The structures are being consumed by the forest that was there long before my family set foot on Long Island after arriving from Europe. This is an ongoing project and I will be continuing to seek-out and photograph locations undergoing this process of reclamation and transformation.”

    Continuing the series “Les Arbres Nous Survivront (The Trees Will Outlive Us),” 2018-2019 (above) during the summers of 2018 and 2019, as an artist-in-residence in France, Boissevain began photographing structures being consumed by forest and forgotten by their former inhabitants (above). These sites include a decommissioned coal factory, a Château in Normandy that was used as a headquarters for the Nazi’s during World War II and an abandoned abbey most recently used as a convalescent home.

    "Allégorie du Jardin,” 2022 (above) came about after Boissevain’s time spent living in France. The daily onslaught of disturbing news regarding our environment, combined with living in a place with so many layers of history all around her caused her to think very deeply about our species’ relationship to nature and how we have historically seen ourselves in relation to our environment. Looking for answers in the incredible gardens and parks in Paris where the history of man’s relationship with nature is visible around every corner. Spending hours In the giant historical archive, the library’s collections requested archival prints (hundreds of years old) of the very same parks and gardens she was photographing. She experimented with bringing together the past and present, by compositing archival prints with contemporary photographs of the same subject matter.

    One of Boissevain’s most recent projects is a book titled “Salt of the Earth” 2023 (below), focusing on the environment for more than twenty years and highlighting the changes that she witnessed firsthand taking place in our environment. Boissevain remains driven to show the power art has to educate. Her intention with the book is to remind people that positive change is possible. In February and March of this year a kickstarter campaign ran for the production of the book, which will be a 110-page hardcover photo book with over seventy of her color photographs documenting the restoration of the San Francisco Bay's salt ponds back to natural wetlands. In addition to the images, the book will also feature essays by Laura Noble, a London-based art critic and writer, and John Hart, an award-winning environmental journalist. "Salt of the Earth" will raise awareness about the incredible transformation taking place in the San Francisco Bay.

    Barbara Boissevain  is a visual artist and photographer whose work focuses on the impact of human activity on the environment. The theme of nature’s ability to regenerate and reclaim human altered landscapes is central to her work. Boissevain first studied painting at Parsons School of Design in New York, before immersing herself in photography, earning a B.F.A. from the San Francisco Art Institute and an M.F.A. from San Jose State University. She has exhibited her work widely, including international solo and group exhibitions in the USA and Europe. Her work has been published in a number of publications including Lenscratch and The American Scholar. In 2021 her work was featured on NPR’s “The Picture Show” (in conjunction with the U.N. Climate Change Summit in Glasgow, Scotland) as well as on the PBS News show “Something Beautiful” in 2022. Her art has been acquired by numerous public and private collections around the world, including the Google corporate collection. For seven years, she was an artist in residence with the City of Palo Alto’s Cubberley Artist Studio Program in Palo Alto, California. In 2018 she was awarded an artist-in-residence in France at Galerie Huit in Arles, France (in conjunction with the internationally renowned Les Rencontres de la Photographie Festival). In July of 2022 she was invited to Atelier 11 for a solo residency through L’AiR Arts international residency program in Paris, France.www.barbaraboissevain.com


    Featured images (top to bottom): ©Barbara Boissevain, Ghost Hangar series, images primarily shot in Silicon Valley; The trees will outlive us 2016, Long Island NY; Les Arbres Nous Survivront 2018-2019, France; Allégorie du Jardin  2022, France; Salt of the Earth 2023; Portrait of the artist.


  • Monday, May 15, 2023 7:58 AM | Anonymous

    MEMBER SPOTLIGHT

    May 5,2023

    This week we recognize  Maru Garcia  Maru Garcia, and her laboratory and fieldwork practice exploring organic matter.

    Ground Dwellers, 2015 (above) is a group of bio-art in Petri dishes that incorporates a collection of microorganisms present in the soil where corn is cultivated. Corn is Mexico’s staple and single, most important nutrition source. The conservation of these micro-ecosystems assures future corn production, innovation in fertilizer creation and biological pest control. The collection of species was obtained by the researchers at CNRG (National Center of Genetic Resources). This is a government institution that is committed to obtaining, characterizing and preserving species important for Mexico’s biodiversity.”

    click images for more info

    Vivarium, 2018 (above) is a performance piece that “studies the interactions within an ecosystem, from the movement of matter and energy to the community created by the living and nonliving organisms. This network of interactions is captured in the macroscopic and microscopic level over time, as an attempt to scale what it means to be part of a larger ecosystem: the Earth. For Vivarium I, the artist shared a marine ecosystem in the coasts of California in a space of 6 hours, engaging with the environment and living organisms that surrounded her.”

    Playground, 2019 (above) “is a multimedia installation that looks in a critical point of view the situation of South East Los Angeles, where massive contamination of lead occurred due to irresponsible practices of a car battery recycling facility. Being lead a dangerous substance, particularly affecting the cognitive development of children, Playground offers the viewer the possibility to play with the soil in a protected environment. The playful interactivity of the piece is captured by a live projection, confronting the experience with the reality of people affected by this problem.”

    Speaking on the lead contamination in South East LA, Garcia created Vacuoles: Bioremediating Cultures, 2019 (above) an installation of 29 ceramic pieces that contained lead contaminated soil from south east LA. “This project resulted from research into an environmental and social crisis specific to South East LA, where thousands of families face severe lead contamination in land affected by a company recycling car batteries. As part of the research, soil samples were collected and encapsulated in oval shape ceramic pieces. This artwork responded to some plants’ bioremediating action in their vacuoles, where they absorb the lead and encapsulate it in these cellular organelles. The work is presented as an interactive installation, and the “vacuoles” represent the 29 most contaminated parks, schools, or childcare centers in South East LA. The viewers can walk around these vacuoles and think about themselves as “bioremediating organisms.” Their image is projected on the wall as they move around the space, resembling a Petri dish or a microscopic view. This is an invitation to exercise our possibility to act as remediators instead of exploiters.”

    Garcia's most recent and ongoing project is titled Prospering Backyards (below). It “is a project that uses the power of art, science, and community to address the severe case of lead contamination in the soil caused by Exide Technologies in areas of East Los Angeles, Boyle Heights, Vernon, Commerce, Maywood, Huntington Park, and Bell. This is a collaborative scientific research between community scientists from the affected community, artists, activists, and scientists, to develop an alternative method for reducing lead exposure in contaminated backyards while considering the health of the soil and the environment.”

    Maru Garcia            combines laboratory and fieldwork tools from her background in plant chemistry and the pharmaceutical industry. Her use of media includes research, installations, performance, sculpture, and video, usually with the presence of organic matter to help understand the biological processes occurring in complex systems. She has participated in conferences, solo and group exhibitions in North America, Europe, and Asia. Garcia was an artist in residence in the National Center of Genetic Resources in Mexico and has received awards from the New York Foundation for the Arts ‘Anonymous Was a Woman Environmental Art Grant’, the California Environmental Protection Agency (CalEPA) Environmental Justice Grant, the California Arts Council, Los Angeles Sustainability Collaborative, Clifton Webb Scholarship for the Arts, and Fundación Jumex. She collaborated with the Art-Sci Center and Counterforce Lab at UCLA and was a 2020- 2021 Sci-Art Ambassador for Supercollider. Garcia worked at the Getty Research Institute in the 2019-2020 Scholar program titled “Art and Ecology” and was a 2021-2022 artist in residence at 18th Street Arts Center. Currently, she's a Getty Foundation grant recipient for the exhibition “Sink: places we call home” with Self Help Graphics & Art, to be presented in the Pacific Standard Time Art x Science x LA in 2024. She is an Associate Research Scientist in Mineral Sciences at the Natural History Museum of Los Angeles County and founder of Biomedia Studio and Prospering Backyards. Garcia holds an MFA in Design & Media Arts from UCLA as well as an MS in Biotechnology and a BS in Chemistry both from Tecnológico de Monterrey, México. www.marugarciastudio.com


    Featured Images (top to bottom): ©Maru Garcia, Ground dwellers series 2015, images primarily shot in Mexico, photographer Tania Lara; Vivarium performance video  2018, California; Playground, 2019; Membrane tensions 2021, scoby and bacteria in glass container, Los Angeles Municipal Art Gallery; Prospering backgrounds ongoing, taking place in Boyle Heights, East Los Angeles, South East LA; Portrait of the artist.


Powered by Wild Apricot Membership Software